By David Bordwell
“It was once the largest upheaval in movie exhibition on account that synchronized sound. among 2010 and 2012, the world’s movie industries eternally replaced the best way video clips have been shown.”
This is the hole sentence of Pandora’s electronic field: motion pictures, records, and the way forward for videos. Written in energetic and available language, it tells the tale of ways the new revolution in movie projection happened. It additionally situates the electronic swap within the background of yank movie distribution and moviegoing.
Pandora’s electronic field solutions those questions:
How did electronic projection get at the agenda?
What roles did George Lucas, James Cameron, and others play in selling and advancing the technology?
How did the Hollywood studios/distributors take cost of the method and switch it to their advantage?
What was once the position of 3D in gratifying the electronic agenda?
How does the shift to electronic projection healthy into theatres’ suggestions to solidify and extend the audience?
How does electronic conversion impact small-town theatres? artwork and repertory theatres? movie data and the way forward for movie preservation?
With filmmaking and now movie projection turning into extensions of knowledge expertise, what different types of alterations may we predict to return? Will electronic exhibition extend viewers’ selection or make stronger the Hollywood industry’s carry on advertisement movie culture?
Written by way of David Bordwell, an award-winning instructor and researcher, Pandora’s electronic field offers either a photograph of the adjustments happening at this second and a long term background of yankee movie culture.
The publication is derived from a chain of blog entries on davidbordwell.net. For the e-book, the unique site entries were rewritten, merged, and up-to-date. the writer has long gone past the entries to supply deeper and wider monetary and ancient historical past, including a few 22,000 phrases of latest fabric. the end result now reads as an autonomous, coherent research of the electronic transition. a last element of references presents weblinks to special records, websites, and commentary.
Table of Contents
Acronyms for a brand new Age
1 | The final Redoubt
2 | From E-Cinema to D-Cinema
3 | King of the World
4 | Pay No recognition to the fellow backstage! (He’s no longer There Anyway)
5 | the line to Harmony
6 | artwork condo, clever House
7 | Pandora on the Festival
8 | The artistic endeavors previously referred to as Prints
References and extra interpreting
Read or Download Pandora's Digital Box PDF
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Additional info for Pandora's Digital Box
Most advocates of e-cinema didn’t consider the Internet as a conduit, probably because real-time download speeds weren’t suﬃcient, and theatres could not have hosted their own data storage. In 1995, 350 GB of storage would have been very expensive for most businesses. e immediate solution proved to be the long- 1 | The Last Redoubt 33 run one: uploading and shipping the film on one or more hard drives. But some years before these experiments and the 1999 screening of e Phantom Menace, hundreds of thousands of people had already experienced digital cinema.
In a way, the image was more annoying than VHS because it tended to go very blocky and jerky. Some VCDs were letterboxed, but that compromised picture quality even more, since there were fewer lines devoted to the image. From the studios’ standpoint, the biggest threat was that a VCD could easily be copied, either to disc or to videotape. Clearly, the VCD had no future in developed markets. 3K to 2K digital cinema, the Hollywood majors decided to set a higher quality standard for movies on optical discs.
Redubbed VHS tapes had always been a thorn in Hollywood’s side, but the arrival of consumer digital media stepped up piracy spectacularly. Most egregious were the “auditorium versions,” movies shot with a video camera during a screening. Ugly in the extreme, auditorium versions were acceptable—good enough, in Clayton Christenson’s sense—in peripheral markets. Better-quality copies came from prints that projectionists had smuggled out and copied on a telecine machine. And once dig- 2 | From E-Cinema to D-Cinema 53 ital technology had taken over post-production in Hollywood, someone in a post house could rip the files of a film in progress and send them anywhere for distribution.